'Why can’t I be a nun and a showgirl?' pamelaanderson tells ronanfarrow why she's seizing control of her story for our March 2023 Issue 🥊
Midway through our conversation, Pamela Anderson name-checks the Renaissance master Titian and hisThe painting, one in a series of the artist’s interpretations of Ovid’s “Metamorphoses,” shows Actaeon, a male hunter, stumbling upon the virgin goddess Diana, who is bathing and naked except for a sick-as-hell bejeweled updo. The painting conjures a host of modern questions about objectification.
ANDERSON: That’s what I was thinking, too. There’s so much to talk about. I don’t even know where to start. I always like to write before an interview, so I’ve already written the whole thing. I could just send it to you.FARROW: That comes across in all of this biographical material about you.
ANDERSON: They’ve seen a lot of the world. But we’ve always had such an honest relationship, which was hard for me to have in my family. Now that we’re releasing the book, sometimes I wake up and I go, “My god, what have I done?” But I needed to get that out. It was life or death. I could have been much more graphic. I could have told many more stories.
FARROW: What was the writing process like? You’ve actually written a surprising number of books in different genres: kids’ books, poetry. You’ve been very open about working with ghostwriters and collaborators in the past. ANDERSON: Poetry is a good facade. It’s very revealing and very vulnerable but it just seems to be more free. I wrote my whole book like that. And they’re like, “We need to put this into sentences and paragraphs and have a little bit of a timeline.” That’s where an editor helped me. I didn’t even realize I was writing poetry. Even when I would write world leaders about animal issues it would say, “Pamela’s written this long poem to this prime minister.” I didn’t realize it was a poem.
ANDERSON: I feel a little sick to my stomach, to tell you the truth. My mother has read it. It hurts people and I’m sorry for that. But I needed to look at my life from beginning to end. The one fortunate thing about being in the public eye is that I’m able to tell my story, and hopefully it’s inspirational to people. Especially with childhood trauma, you carry that with you, especially when you’re raised in a place where everyone just wants to put it aside.
FARROW: There are shocking scenes in this book chronicling you watching your dad hurt your mom as a child and then much later in your life, the moment of Tommy throwing you and 7-week-old Dylan into a wall and getting arrested. Do you feel like you have pulled something from the retelling of those experiences that is helpful to you in escaping that intergenerational cycle of brutality?
FARROW: I sadly see more kids who grow up in the public eye and emerge from that experience with profound struggles because of it, than ones who emerge drawing strength from it.
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